Great Short Stories by American Women (13 page)

“If you should jilt her to-morrow, I wouldn’t have you,” spoke up the girl, with sudden vehemence.

“Well, I ain’t going to give you the chance,” said he; “but I don’t believe you would, either.”

“You’d see I wouldn’t. Honor’s honor, an’right’s right. An’ I’d never think anything of any man that went against’em for me or any other girl; you’d find that out, Joe Dagget.”

“Well, you’ll find out fast enough that I ain’t going against’em for you or any other girl,” returned he. Their voices sounded almost as if they were angry with each other. Louisa was listening eagerly.

“I’m sorry you feel as if you must go away,” said Joe, “but I don’t know but it’s best.”

“Of course it’s best. I hope you and I have got common-sense.”

“Well, I suppose you’re right.” Suddenly Joe’s voice got an undertone of tenderness. “Say, Lily,” said he, “I’ll get along well enough myself, but I can’t bear to think — You don’t suppose you’re going to fret much over it?”

“I guess you’ll find out I sha’n’t fret much over a married man.”

“Well, I hope you won’t — I hope you won’t, Lily. God knows I do. And — I hope — one of these days — you’ll — come across somebody else — ”

“I don’t see any reason why I shouldn’t.” Suddenly her tone changed. She spoke in a sweet, clear voice, so loud that she could have been heard across the street. “No, Joe Dagget,” said she, “I’ll never marry any other man as long as I live. I’ve got good sense, an’ I ain’t going to break my heart nor make a fool of myself; but I’m never going to be married, you can be sure of that. I ain’t that sort of a girl to feel this way twice.”

Louisa heard an exclamation and a soft commotion behind the bushes; then Lily spoke again — the voice sounded as if she had risen. “This must be put a stop to,” said she. “We’ve stayed here long enough. I’m going home.”

Louisa sat there in a daze, listening to their retreating steps. After a while she got up and slunk softly home herself. The next day she did her housework methodically; that was as much a matter of course as breathing; but she did not sew on her wedding-clothes. She sat at her window and meditated. In the evening Joe came. Louisa Ellis had never known that she had any diplomacy in her, but when she came to look for it that night she found it, although meek of its kind, among her little feminine weapons. Even now she could hardly believe that she had heard aright, and that she would not do Joe a terrible injury should she break her troth-plight. She wanted to sound him without betraying too soon her own inclinations in the matter. She did it successfully, and they finally came to an understanding; but it was a difficult thing, for he was as afraid of betraying himself as she.

She never mentioned Lily Dyer. She simply said that while she had no cause of complaint against him, she had lived so long in one way that she shrank from making a change.

“Well, I never shrank, Louisa,” said Dagget. “I’m going to be honest enough to say that I think maybe it’s better this way; but if you’d wanted to keep on, I’d have stuck to you till my dying day. I hope you know that.”

“Yes, I do,” said she.

That night she and Joe parted more tenderly than they had done for a long time. Standing in the door, holding each other’s hands, a last great wave of regretful memory swept over them.

“Well, this ain’t the way we’ve thought it was all going to end, is it, Louisa?” said Joe.

She shook her head. There was a little quiver on her placid face.

“You let me know if there’s ever anything I can do for you,” said he. “I ain’t ever going to forget you, Louisa.” Then he kissed her, and went down the path.

Louisa, all alone by herself that night, wept a little, she hardly knew why; but the next morning, on waking, she felt like a queen who, after fearing lest her domain be wrested away from her, sees it firmly insured in her possession.

Now the tall weeds and grasses might cluster around Cæsar’s little hermit hut, the snow might fall on its roof year in and year out, but he never would go on a rampage through the unguarded village. Now the little canary might turn itself into a peaceful yellow ball night after night, and have no need to wake and flutter with wild terror against its bars. Louisa could sew linen seams, and distil roses, and dust and polish and fold away in lavender, as long as she listed. That afternoon she sat with her needle-work at the window, and felt fairly steeped in peace. Lily Dyer, tall and erect and blooming, went past; but she felt no qualm. If Louisa Ellis had sold her birthright she did not know it, the taste of the pottage was so delicious, and had been her sole satisfaction for so long. Serenity and placid narrowness had become to her as the birthright itself. She gazed ahead through a long reach of future days strung together like pearls in a rosary, every one like the others, and all smooth and flawless and innocent, and her heart went up in thankfulness. Outside was the fervid summer afternoon; the air was filled with the sounds of the busy harvest of men and birds and bees; there were halloos, metallic clatterings, sweet calls, and long hummings. Louisa sat, prayerfully numbering her days, like an uncloistered nun.

Charlotte Perkins Gilman

(1860—1935)

CHARLOTTE PERKINS GILMAN was the second child of Frederic Beecher Perkins — nephew of Harriet Beecher Stowe — and Mary A. Fitch. Shortly after her birth, Perkins abandoned his family, and Gilman’s mother was left to support her two children.

As a young woman, Gilman earned her living as a governess, art teacher and greeting-card designer. She married another artist, Charles Stetson, in 1884 and shortly after gave birth to their daughter Katharine. Suffering from what was most likely postpartum depression, Gilman followed her husband’s suggestion and consulted with the famous physician S. Weir Mitchell, author of
Lectures on the Diseases of the Nervous System, Especially in Women
(1881). After undergoing Mitchell’s renowned Rest Cure, which prescribed complete bed rest, Gilman was advised to live “as domestic a life” as possible, to keep her child with her at all times and to avoid any intellectual stimulation whatsoever. “The Yellow Wall-Paper” — published in 1892, the same year that Gilman was granted a divorce from her first husband — is Gilman’s semi-autobiographical account of the disastrous effects of Mitchell’s “cure.” Related in the first person, the story traces a woman’s descent into madness under the care of her well-intentioned husband.

Gilman’s text is an example of what critic Michelle Massé calls marital gothic. Whereas marriage provided the resolution of conventional gothic, in “The Yellow Wall-Paper” it is a source of — rather than sanctuary from — horror. And though the narrator’s husband loves her, he remains oblivious, thereby contributing, to the real cause of his wife’s illness.

Gilman was one of the foremost feminists at the turn of the century. In addition to “The Yellow Wall-Paper,” her most famous work of fiction, she published a large body of polemical work, including
Women and Economics
(1898), a fundamental text of the early women’s movement in America,
Herland
(1915) and
His Religion and Hers
(1923).

The Yellow Wall-Paper

IT IS VERY seldom that mere ordinary people like John and myself secure ancestral halls for the summer.

A colonial mansion, a hereditary estate, I would say a haunted house, and reach the height of romantic felicity — but that would be asking too much of fate!

Still I will proudly declare that there is something queer about it.

Else, why should it be let so cheaply? And why have stood so long untenanted?

John laughs at me, of course, but one expects that in marriage.

John is practical in the extreme. He has no patience with faith, an intense horror of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures.

John is a physician, and
perhaps
— (I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind — )
perhaps
that is one reason I do not get well faster.

You see he does not believe I am sick!

And what can one do?

If a physician of high standing, and one’s own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression — a slight hysterical tendency — what is one to do?

My brother is also a physician, and also of high standing, and he says the same thing.

So I take phosphates or phosphites — whichever it is, and tonics, and journeys, and air, and exercise, and am absolutely forbidden to “work” until I am well again.

Personally, I disagree with their ideas.

Personally, I believe that congenial work, with excitement and change, would do me good.

But what is one to do?

I did write for a while in spite of them; but it
does
exhaust me a good deal — having to be so sly about it, or else meet with heavy opposition.

I sometimes fancy that in my condition if I had less opposition and more society and stimulus — but John says the very worst thing I can do is to think about my condition, and I confess it always makes me feel bad.

So I will let it alone and talk about the house.

The most beautiful place! It is quite alone, standing well back from the road, quite three miles from the village. It makes me think of English places that you read about, for there are hedges and walls and gates that lock, and lots of separate little houses for the gardeners and people.

There is a
delicious
garden! I never saw such a garden — large and shady, full of box-bordered paths, and lined with long grape-covered arbors with seats under them.

There were greenhouses, too, but they are all broken now.

There was some legal trouble, I believe, something about the heirs and coheirs; anyhow, the place has been empty for years.

That spoils my ghostliness, I am afraid, but I don’t care — there is something strange about the house — I can feel it.

I even said so to John one moonlight evening, but he said what I felt was a
draught
, and shut the window.

I get unreasonably angry with John sometimes. I’m sure I never used to be so sensitive. I think it is due to this nervous condition.

But John says if I feel so, I shall neglect proper self-control; so I take pains to control myself — before him, at least, and that makes me very tired.

I don’t like our room a bit. I wanted one downstairs that opened on the piazza and had roses all over the window, and such pretty old-fashioned chintz hangings! but John would not hear of it.

He said there was only one window and not room for two beds, and no near room for him if he took another.

He is very careful and loving, and hardly lets me stir without special direction.

I have a schedule prescription for each hour in the day; he takes all care from me, and so I feel basely ungrateful not to value it more.

He said we came here solely on my account, that I was to have perfect rest and all the air I could get. “Your exercise depends on your strength, my dear,” said he, “and your food somewhat on your appetite; but air you can absorb all the time.” So we took the nursery at the top of the house.

It is a big, airy room, the whole floor nearly, with windows that look all ways, and air and sunshine galore. It was nursery first and then playroom and gymnasium, I should judge; for the windows are barred for little children, and there are rings and things in the walls.

The paint and paper look as if a boys’ school had used it. It is stripped off — the paper — in great patches all around the head of my bed, about as far as I can reach, and in a great place on the other side of the room low down. I never saw a worse paper in my life.

One of those sprawling flamboyant patterns committing every artistic sin.

It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide — plunge off at outrageous angles, destroy themselves in unheard of contradictions.

The color is repellant, almost revolting; a smouldering unclean yellow, strangely faded by the slow-turning sunlight.

It is a dull yet lurid orange in some places, a sickly sulphur tint in others.

No wonder the children hated it! I should hate it myself if I had to live in this room long.

There comes John, and I must put this away, — he hates to have me write a word.

We have been here two weeks, and I haven’t felt like writing before, since that first day.

I am sitting by the window now, up in this atrocious nursery, and there is nothing to hinder my writing as much as I please, save lack of strength.

John is away all day, and even some nights when his cases are serious.

I am glad my case is not serious!

But these nervous troubles are dreadfully depressing.

John does not know how much I really suffer. He knows there is no reason to suffer, and that satisfies him.